Drama of Works presents...
Having its world premiere at Abrons Art Center Halloween of 2006, "Sleepy Hollow" has since been performed in Serbia, Indonesia, Finland and most recently this summer in Connecticut at the International Puppeteers of America Festival. For the first time in nine years Drama of Works's large-scale shadow puppetry silent movie exploration of the Irving classic with original musical score will be presented in New York City. Don't miss this rare opportunity to see a fall classic. Only 35 seats available for each performance!
Thursday, November 5th - Saturday, November 7th, 8pm
Sunday, November 8th, 5pm
TWO ADDED SHOWS!
Thursday, November 12th, 8pm
Friday, November 13th, 8pm
Based on the short story by Washington Irving
Original musical score by Vivian Fung
Directed by Gretchen Van Lente
Designed by James Walton
Performed by Deborah Beshaw, Amy Carrigan, Scott Weber, and Meghan Williams
The recorded score is performed by Paul Han, tenor; Meredith Lustig, soprano; Sean Riley, violin; Jonah Thomas, cello; Stephanie Wu, piano.
"Sleepy Hollow" is a Henson award-winning shadow puppet theater piece adapting the classic Washington Irving tale "The Legend of Sleepy Hollow" (originally published in 1820). It is a 45-minute piece with original music incorporating voice, strings, piano and foley sound effects. A giant quilted screen covers the entire stage and all forms of shadow puppetry are employed to create this unique piece of theater: traditional shadow techniques, physical shadow acting, Victorian silhouette, silent film-esque title slides, dynamic lighting techniques and special shadow effects designed specifically for the show. It was developed as a part of the prestigious Dream Music Puppetry Program at HERE Arts Center as a part of their HARP residency program, under the guidance of Basil Twist, and with feedback from artists as diverse as performance artist Taylor Mac, playwright Lisa D'Amour and choreographer Alexandra Beller.
"Sleepy Hollow is elegant and effective, incorporating projected passages from Irving's text... The line of the projected figures effectively evokes nineteenth-century America even as the variety of techniques employed by Van Lente and her puppeteers marks the production as decidedly contemporary" -Performing Arts Journal.